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From “The Falling Man” to Girly Man: American Poetry after 9/11 and the Logic of Mourning

Eun-Gwi Chung(Inha University)

1. “The Falling Man”: Impossibility of 9/11 Representation

In October 2001, Lawrence Ferlinghetti, an American poet, painter,

and liberal activist, predicted that “poetry from now on would be

divided into two categories: B.S. and A.S., Before September 11 and

After September 11.”1) His reckoning, reminding me of Adorno’s

famous remarks about the impossibility of poetry after Auschwitz,2)

goes with the general response to 9/11, which locates 9/11 as a

1) Jeffrey Gray, “Precocious Testimony: Poetry and the Uncommemorable,” in Literature after 9/11, ed. Ann Keniston and Jenne Follansbee Quinn (New York: Routledge, 2008).

2) Lines such as Adorno’s “to write poetry after Auschwitz is barbaric” and “all post-Auschwitz culture, including its critique, is garbage” have been quoted as examples of the limit of representation. Theodor W. Adorno, “Cultural Criticism and Society,” in Can One Live after Auschwitz? A Philosophical Reader, ed. Rolf Tiedemann (Stanford: Stanford UP, 2003), 162; idem, Negative Dialectics, trans. E. B. Ashton (New York: Continuum, 1973), 367.

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watershed moment for American society, culture, and literature. In

fact, in so many kinds of literary representations of 9/11, a lingering

emotion of loss or a mood of mourning has coexisted with, or ended

in, the evocation of the impossibility of representation. For example,

Wislawa Szymborska’s 2005 poem, “Photograph from September 11,”

begins by describing the stark reality of that day in a controlled, ‘so

called, poetic’ mode and ends with the evocation of the impossibility

of poetic representation: “They jumped from the burning floors－ /

one, two, a few more, / higher, lower. // I can do only two things

for them－ / describe this flight / and not add a last line.”3) This

poem, while describing the falling bodies of 9/11 as a very simple

word, “flight,” conveys the terrible moment of loss, the loss of

words, that is, the failure of representation. Szymborska’s response to

9/11 is just one example of the poetic failure in the representation of

9/11, showing how people including poets became numb in front of

the unimaginable event.

What about the visual representation of 9/11? Photography was

undoubtedly effective in capturing the catastrophic moment. In the

famous photograph of “The Falling Man” by Richard Drew, we

encounter the most shocking, faithful form of visual representation

(see figure 1).

3) Wislawa Szymorska, “Photograph from September 11,” in Monologue of a Dog, trans. Clare Cavanagh and Stanslaw Baranczak (New York: Harcourt, 2005), 69, italics mine.

From “The Falling Man” to Girly Man 65

Figure 1. Richard Drew, “The Falling Man.”4)

This picture, taken by Richard Drew, captures the vertical image of

a man falling from the North Tower of WTC at 9:41 a.m. on

September 11.5) From the very start of its appearance, it became a

symbolic tool of interpretation for 9/11. The falling image, the

erecting line of falling was so powerful that the picture was

considered as not just the tragic representation of a human being but

as a representation of America: a nation, falling empire. The

responses of people and the ways they interpreted the picture were

not less shocking than the picture itself.6) With so many jumpers at

that time, repeated view of the images of the crumbling towers and

4) Richard Drew, “The Falling Man,” http://images.usatoday.com/news/sept11/2002-09-02-jumper.jpg

5) For more detailed information, see Joe Pompeo (2011-08-29), “Photographer behind 9/11 ‘Falling Man’ retraces steps, recalls unknown soldier,” Yahoo! News, retrieved 2011-08-31.

6) Because there had been so many ‘jumpers,’ it was not easy to identify the man at first. Five years after 9/11, the man in the photograph was identified as Jonathan Briley, a 43-years-old employee of a restaurant in the North Tower. The subject of the image, however, has never been officially confirmed. He was one of 200 people who fell or jumped to their deaths on that morning.

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falling bodies was absorbing the spectacle and people were looking

for a word to describe the falling people. One interesting comment

was from the New York City medical examiner’s office which stated

that it does not classify people who fell to their deaths on September

11 as jumpers: “A ‘jumper’ is somebody who goes to the office in

the morning knowing that they will commit suicide. … These people

were forced out by the smoke and flames or blown out,” explains

Dennis Cauchon in an article, “Desperation Forced a Horrific

Decision” in USA Today.7) Newspaper stories that commented on the

image as well as other published interpretations of this form of death

have attracted a barrage of criticism from readers who find the image

disturbing. The social and cultural significance of “The Falling Man”

was nevertheless huge and the falling man became the symbol for

grieving families much like the “Tomb of the Unknown Soldier.”

After the photo’s publication, countless commentaries followed, some

with new photographs and pictures, interposing endless words, stories,

guesses, and explanations, most of which seemed not to be mourning

the death of the man in an ethically right way, but sometimes

begetting (albeit unintentionally) violent abuse of a human right, and

sometimes codifying the impossibility of representation itself.

In this essay I try not to repeat the endless, hackneyed discourses

on the impossibility of representation, but rather to pull out some

meaningful moments of visual and literary representation around 9/11

and think of the possible location of poetic voices and speech

reflecting or re-thinking the binary antagonistic discourses around

7) Dennis Cauchon and Martha Moore, “Desperation Forced a Horrific Decision,” in USA Today, http://www.usatoday.com/news/sept11/2002-09-02-jumper_x.htm

From “The Falling Man” to Girly Man 67

9/11 that the mass media and the political parties have produced. In

doing so, this paper is an attempt to rescue the discourse around

9/11 from the illogical cultural and political discourses ornamented

with such words such as Ground Zero, sacred ground, hallowed

ground, our heroes, axis of evil, etc. So many poems produced

shortly after 9/11 reflects the shock, sadness, and of the American

psyche as a whole but fail to construct the meaningful site of

mourning beyond the national loss. While briefly mapping out the

rapidly changed poetic and cultural landscape after 9/11, this paper

would go further from a passive sketch of the literary landscape of

post-9/11. In this paper, I try to discern the meaningful use of an

explicitly poetic register in order to express ostensibly

un-representable shock, sadness, and anger, even when coupled with

the hackneyed discourses of mourning, grieving, revenge, war, and

anti-war. Furthermore, this paper tries to explore the possibility of

poetry as a genre serving as a unique form of praxis that suggests a

different idea or constructive discourse for contemporary American

culture, especially in the post-9/11 era.

According to Simpson, post 9/11 era was the time when

commemoration “has been hijacked by revenge.”8) Originally intended

to rethink the discourses around 9/11--for example, ‘in what sense’

9/11 became ‘The Day America Changed’ or ‘When the World as

We Knew It Ended,’ to use the headline of newspaper accounts or

Joy Harjo’s comment and poem9)--this paper especially focuses on

8) David Simpson, 9/11: The Culture of Commemoration (Chicago: University of Chicago Press, 2006), 170.

9) ‘The Day America Changed’ is the coverage of Fox News which was originally published in March 21, 2007. See http://www.foxnews.com/story/0,2933,61465,00.

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Charles Bernstein’s poetic strategy that treats language as a form of

public discourse seeking to jostle readers out of their personal grief

and private emotional sphere. Trying to answer the questions

embedded in the issue of poetic representation and to see the prompt

responses of poets to the unprecedented trauma of modern America

in post-9/11 when words such as suspicion, backlash, politics,

security, censorship attained new meanings again and just a few had

courage to “go against,” I hope ultimately to dilute our overly rigid

distinction between poetry and politics. To see how poets have

practiced the ethics of writing in their own ways in the post-9/11 era

is to rethink poetry’s capacity to bring about social, political, and

cultural change. Through Bernstein’s prompt responses to what has

happened to America, I will explore how his poetic language, which

has been trapped in a critical misunderstanding for a long time, finds

a door toward the reader, in the era of “post-LANGUAGE poetry,”

not as a form of therapy, reason, explication, or commemoration, but

as the song of an ethical, political troubadour questioning the logic

of mourning.

2. “Aftershock” and the world of Girly Man

In the immediate aftermath of 9/11, poems were everywhere by

everybody. Walking around the city of New York, people scrawled

html and ‘When the World as New It Ended’ was commented by Joy Harjo, contemporary American Indian Woman poet. She later wrote a poem under the same title. See Joy Harjo, “When the World as We Knew It Ended,” in How We Became Human: New and Selected Poems 1975-2001, 198-200.

From “The Falling Man” to Girly Man 69

poems in the ash that covered everything; poems in every corner of

the city, poems in a cloud of e-mails, newspapers, in a burning

television, poems of pride, compassion, and confusion, of course,

poems of cries, poems of retaliation, poems of war and anti-war,

poems of the possible and the impossible. If poetry expresses what

remains un-representable about 9/11, it also shows the struggle to

speak about the meaning of 9/11 in the persistent questions about

how we interpret 9/11, how we endure it. The questions of the

impossibility of representation, therefore, can be rewritten as the quest

for remembering the loss and then the meaning of how to endure

post-9/11 life might be newly explored. Here is Miranda Besson’s

poem “Flight,” a typical poetic response to the falling man:

The survival of this slight speckof this feathered perfection seemedmore important than anything elsewe could think of those first few weeks:more important than the planes,the slow motion tumble,the man in his business suitwho fell through the air withoutthe benefit of wings. (PA 9/11, 6)

Among so many poems in the form of remembering / representing

9/11, I cite this poem as an example in which the logic of mourning

is not working well. As how to endure the shock became another

important task for a poet, the task of portraying the scene or the

shock still occupied as large a part of post-9/11 poetry as the

recognition of the impossibility of representation. In this poem, the

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man “who fell through the air without the benefit of wings” seems

to wear a tint of dignity by being “more important than the planes.”

Yes but No. The ending line does not fulfill the dream of

faithfulness, in the sense of mimetic or figurative language, nor does

it mourn for the dead or console the readers. Readers might think

that the falling man is the transformed figure of Icarus. But the lines

fail to capture the tragedy of a contemporary American man who

must have lived the average day of ordinary American men and fell

from the building on that morning. The survival might refer to the

meaning and value of its photographic representation but the poem

fails to get “the benefit of” sympathetic readership that it must have

aimed at first. In the dumps of shock, anger, and sadness, so many

poems were busy following the frame of “Are you with us or not.”

As the fact that most of the recorded messages at that time were

expressions of love was revealed, the shock, anger, and sadness of

9/11 made the numberless deaths of 9/11, the victims, into a pure

form of a sacrifice and the sacrifice was a thing that was invented

by others in the aftermath of the deaths. No one said that the deaths

were meaningless; instead the dead became patriots, heroes of

America. The desperate urge to assure us all that these deaths were

not in vain worked in the poetry genre too, just as they did in other

forms of representation. As we saw in the case of “The Falling

Man” in the picture above, the deaths represented in the poems as

well as the media were exalted and thus dignified the innocent

victims as sacrifices who died for a great cause.

In the midst of so many voices witnessing, mourning, and enduring

9/11, there came the voices analyzing its cause and aftermath in

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various forms, including poetry, the visual arts, and films. They were

usually accompanied with the ethical reflections on American foreign

policy as the cause of 9/11. Here is a poem of Pamela Talene Hale,

entitled “Poem for an Iraqi Child in a Forgotten News Clip.”

I’m sorry that your mom was killedWhen a missile struck your home. …That missile came in my namePaid for by my tax dollars. (inserted in 2005 film Voices in Wartime)10)

This is a voice of an ordinary person from an ordinary place. As

we see in this poem, though the immediate response to 9/11 was

shock and horror, there was a guilty feeling of “we-had-it-coming” in

people’s minds and the expression of this feeling is strikingly

balanced with the high-volume outrage, fury, shock, and anger of the

mass media, the government, and some radio and television

commentators. This kind of reflective poem, however, becomes just

one disheartening example of post-9/11. To say Americans have little

right to complain about trivial, ordinary things compared with

conditions in other world begets another false interpretation of 9/11.

10) I read this poem first in the website of ‘poetsagainstthewar.org.’ The description she gave of herself was something like “an ordinary person in an ordinary place.” In an interview, she clarifies the reason why she used that as her description, “It was partly because I wanted it to be understood that it wasn’t just crazy left-wing people who were against the war. And it wasn’t just people who were activists or people who had an agenda or something. It was ordinary people in ordinary places－people you know who have jobs and homes and lives just like everybody else. And we ordinary people weren’t really happy with what was going on.” See http://www.voiceseducation.org/category/tag/poem-iraqi-child-forgotten-news-clip

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The lines seem to be very ethical but still repeat the clear-cut

binaries upon which so many politicians concentrated. So many poets

tried to answer to the needs induced by the terrible, but in so many

cases, poems just imitated the reportorial voices of the media,

showing off the victims of 9/11 or victims in other worlds in the

festival of grief. In speaking of the poetry that emerged after 9/11,

we need first to trace more explicit contours of the immediate

response in the broader net of public discourse. For the task, I was

lucky to be there, then, in a position where I could witness and join

in the various, instant poetic responses to 9/11.

The list of poets who responded to 9/11 is endless, including

David Baker, Amiri Baraka, Daniel Berrigan, Charles Bernstein,

Frank Bidart, Fred Chappell, Lucille Clifton, Robert Creeley, Kimiko

Hahn, W.S. Merwin, and Alicia Ostriker. Thousands of lesser-known

poets also responded to the event. If I go back to that day, from the

morning of 9/11, hundreds and hundreds of stories were gathered on

the Buffalo Poetics listserv.11) At first, there were shocking cries and

saddening, maddening voices, and then the voices moved to the form

of questioning: “what can the poets do?” and “what is to be done?”

The questions were soon followed by reflections such as “what is to

be known?” and “is this what our closed open society breeds?” And

we, my poet-critic friends, planned an anti-war poetry reading on a

11) Listserv refers to an electronic mailing list service. When I joined in Buffalo Poetics Program, the system as the vigorous space of conversing with each other on the ideas of poetry and culture was the most important and prompt channel for poets to discussing the current issues. Especially during the days after 9/11 there were heaps of poems, numberless discussions, war discourses, concerns ofor America, forof democracy. So many “A.S. (after Sep. 11) poems” were uploaded there in most raw, fresh forms and styles.

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very icy chilly winter day, when public voices were amalgamated

into the possible war in so sad, horrible, tense feelings. At that time

every individual, political act tended to be interpreted as bearing

some potential danger, for example, yelling for/against war. In

‘Buffalo Poetics Anti-war Poetry Reading/ Performance,’ the event I

also joined in, Charles Bernstein12) read endlessly repetitive lines

beginning with ‘war is’ or ‘war isn’t,’ entitled “War Stories,” a

six-page-length poem in the printed form.

War isn’t over even when it’s over.War is over here.War is the answer.War is here.War is this.War is now.War is us. (GM 154)

Here, the poet, in at mixture of self-deprecating humor with

incisive political and philosophical thinking, explores a range of

fluctuating paths to the with-us-or-against-us rhetoric of the mass

media. The line like “War is an excuse for lots of bad antiwar

poetry” (GM 151) shows that he still does not discard some distrust

of the kind of sympathy produced by the performance and the voice

of the individual observer, and that all the mixtures of “calling

12) Charles Bernstein, the most prominent members of Language poets, is an American poet, theorist, and literary scholar. From 1989 to 2003, he was David Gray Professor of Poetry and Letters at the University at Buffalo, where he was co-founder and Director of the Poetics Program. He is now holds Donald T. Regan Chair in the Department of English at the University of Pennsylvania.

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for/against war” are etched from the moment of crisis and make

readers confront the cultural and political ‘illogics’ of that time.

“It’s 8:23 in New York,” a prose poem Charles Bernstein wrote on

that day, Tuesday, Sep. 11 and posted to the listserv in the same

evening, begins the un-describableness of reality, “What I can’t

describe is how beautiful the day is in New York; clear skies,

visibility all the way to the other side of wherever you think you are

looking. …”(17). Uncanny un-describableness of reality is repeated at

the end of the poem:

At about 6, Felix, Susan and I walked down to the Hudson. I wanted to see New Jersey, to see the George Washington Bridge. The sun gleamed on the water. The bridge was calm. Folks were bicycling and rollerblading. The scene was almost serene; just five miles from the Trade Center.

Uncanny is the word.

What I can’t describe is the reality; the panic, the horror.

I keep turning on the TV to hear what I can’t take in and what I already know. Over and over. I don’t find the coverage comforting but addictive.

This could not have happened. This hasn’t happened.

This is happening. It’s 8:23 in New York. (GM 17-19).

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Written in a very elegiac tone, this poem reflects the speaker’s

immediate response to the horrific, unreal aspect of 9/11. The

repetitive mode of inability presented in phrases such as “I can’t

describe∼” “I can’t believe∼” “I can’t imagine∼” shows how the

poetic speaker, in this case, not different from the poet himself,

experienced total numbness in the happening of 9/11. The unreal or

surreal aspect of the tragedy is confirmed again in the response of

his neighbor, too: “I can’t believe that these fucking people are

sitting in a café when the city is being blown up” (GM 17).

The very vivid landscape of after 9/11 forms the basic frame of

Girly Man, which was published in 2006 as Bernstein’s 30th

collection of poetry. Reflecting the numb and crazy mood of 9/11,

critically redirecting the American politics after 9/11, Girly Man, at

once as documents of the ‘aftershock’ of 9/11 and post-9/11 culture

and the poetic response to the war in Iraq, is a major achievement

of American poetry after 9/11. Instead of choosing the very caustic

multiple voices that he used in earlier poems, Bernstein here depends

on the overtly biographical narrative style. As an urgent speaker and

witness of 9/11, the poet tries to convey the landscape of the city,

voices of people there. Interestingly, the voice of the self that

Bernstein takes here, a monologic consumer, was used to criticize the

chief symptom of American cultural malaise in his earlier poems. At

once predicting a meaningful change in his poetic mode and still

holding his long-standing anti-formalist stance, he continues to mock

and assaults the gentle reading public. As a poet who proposes that

poetry should be an active intervention within culture against static

forms of knowledge, against schooled conceptions, and traditional

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formulation, Bernstein remaps his older poetic ground in various

experiments.

After the crash, an official period of panic set in. During this time, all bets were off. We were told to expect anything, any target next. This period of official panic has set the tone for the days after and may have a more profound effect than the initial events.

Now, Sunday, it’s cold for the first time. The summer is over.

I bombyou bombhe/she/it bombwe bombyou bombthey suffer

We’re ugly, but we’re not that ugly.&, hey, Joe, don’t you know ─ We is they. (GM 24-5)

Originally listed on the Poetics listserv on Sun. Sept. 16 2001 and

then published in his poetry book Girly Man in 2006, this poem is

entitled as “Aftershock.”13) As the title says, after the crash, came

13) The bombing was not the first time for the WTC. In 1993, February 26, a truck bomb was detonated below the North Tower and killed 6 people and injured over 1,000 people. David Lehman’s poem “The World Trade Center” is about the accident. “I never liked the World Trade Center. … (it) was an example of what was wrong / With American architecture, / And it stayed that way for twenty-five years / Until that Friday afternoon in February / When the bomb went off and the buildings became / a great symbol of America” (PA9/11 xv). And of course, Baudrilllard’s famous phrases, “At a pinch, we can say that they did it, but we wished for it” Jean Baudrillard, Spirit of Terrorism, trans. Chris Turner (London: Verso, 2003), 5.

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the aftershock and then the stories, too; stories about the falling

“man,” about the falling “empire.” While changing the subject of

bombing from I to you, he/she/it, we, and you again, the poet here

dismantles the positioning of the bombing. The technique seems, at

first, to shake and question the subjectivity of the terrible

wrong-doing. But as we follow the lines, we come to realize that the

circulation of subjectivity is meant to question the ethics of feeling

the loss. In the last three lines, readers encounter one of the most

shocking and stunning moments in post 9/11 poems.

The lines “We’re ugly, but we’re not that ugly / &, hey, Joe,

don’t you know -- / We is they” remind me of the simple,

sometimes ungrammatical, ordinary Jazz rhythms of Langston

Hughes’s poems, especially in his poetry book Montage of a Dream

Deferred (1951). Here Bernstein, playfully connecting we-not-ugly

with ugly-we-(is)-they, tries to dismantle the basic frame of judgment,

the division of subject and object. In all three or four alternate

moves, he blurs the territory of mourning and warning and obscures

the division of victims from victimizers. The tone is reflective but at

the same time very playful like Hughes’ protesting voices. After

telling us vividly those sleepless nights and days in the city of New

York, the poet invites readers to join in the stunning moment of

‘rousing’ the “official period of panic” in a rather abrupt and careless

way. In the line, “We is they,” the ruining of Standard English

grammar rules and the amalgamation of ‘we’ and ‘they’ in a very

agile way (interestingly, the verb is ‘is,’ not ‘are,’ which is very

colloquial and therefore doesn’t have any problem), the poet makes

us face the questions: what are/is we, what is our America, how to

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interpret 9/11 and how to endure it. Here again, the familiar rhetoric

of for-and against-us which swept the whole American culture in post

9/11 is blurred and re-flected. By this way of overturning the

familiar rhetoric of for-and-against-us, this poem finally achieves the

task of mourning (and warning) in a very ethical and political level.

Another interesting example embodying the political allegory and

solution in the form of poetry is “In the Ballad of the Girly Man.”

It begins “The truth is hidden in a veil of tears / The scabs of

mourners grow thick with fear // A democracy once proposed / Is

slimmed and grimed again / By men with brute design” and ends in

the same repeated but reversed lines of “The scabs of the mourners

grow thick with fear / The truth is hidden in a veil of tears.”14)

When the poet invites readers to “be a girly man,” “to take a gurly

stand,” to “sing a gurly song” and confesses that “Poetry will never

win the war on terror / But neither will error abetted by error,” the

poet, keenly conscious of American foreign policy, wittily subverts

the stereotype of a typical American hero that has been represented

again and again in films, cartoons, and in addresses by many

politicians such as Arnold Schwarzenegger and George W. Bush.15)

Deliberately misreading Schwarzenegger’s epithet “girlie man,” the

poet intertwines and shifts the frame of the political discourse. When

he says “Sissies and proud / That we would never lie our way to

war,” he at once reminds us of the legacy of cultural movements of

the 1970s, the parade of gays even today, and at the same time calls

14) Charles Bernstein, “Ballad of the Girly Man,” in Girly Man (Chicago: University of Chicago Press, 2006), 179, 181.

15) Ibid., 179, 180.

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upon the collective voices of anti-war protest in post 9/11.16) Joyfully

and blatantly, the poet draws the attention of readers to the center of

most complicated discourse in post-9/11 America and dismantles

political discourses based on the logic of loss and mourning. The

lines show how poetic discourse can manipulate and re-conceptualize

the political discourse that has interpreted 9/11 and the American

military response in terms of just cause.

3. Taking time or Not

As we see in the various examples of photograph/poetry on the

critical moments of 9/11, many of them so surreal, words flourished

where the image failed and sometimes images took the blank space

of words. How to read 9/11 and its representations can’t be a

completed project. The distance between the falling man and the girly

man is to be analyzed rather than deplored or mourned. It is crucial

for all of us to study not only all the ways that 9/11 has become

the answer to every questions but also how it has begun to function

as generative and beguiling question. Keeping our eyes on 9/11

questions and answers allows for an inquiry that itself require a wide

net and a careful eye. As Jean Baudrillard says, “the whole history

and power is disrupted by this event, but so, too, are the conditions

of analysis. You have to take time.”17) It might be time that is

needed for all of us. In fact, it took much time, at least many years,

16) Ibid., 181.17) Baudrillard, Spirit of Terrorism, 4.

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for novelists to respond to the event and the achievements or failures

in literary fields including poetry and novels are not yet fully

evaluated.18) But as we saw in a few poems shortly after 9/11,

poems opened the most lively, contested field where political, ethical,

cultural, and literary discourses collided in the tumultuous aftermath

of 9/11. At the same time, we need to admit that poetic discourse

joined in the premature remarks and interpretation on 9/11 as some

other political and cultural discourses did. Some joined in the festival

of marking the dead in the “pornography of grief”19) and some fell

in clear-cut binariess of politics as those of George W. Bush.20) The

problem with the literary representations in these cases was not the

engagement itself, rather it was the form of engagement--making the

subjects speaking in the poems stable, with no change.

Marking 9/11 as the darkest day in American history still needs

time, not just because of the victims but because of our recognition

about 9/11; “THEY ARE CALLING IT A WAR, AN ACT / THAT

DEFINES THE DAY AS ANOTHER INFAMY I saw the buildings

fall on the TV.”21) In the space where terror, infamy, war took the

18) See, for examples, Don DeLillo’s 2008 novel, The Falling Man, Judy Budnitz’s 2005 short story “Preparedness” Sherman Alexie’s 2003 short story, “Can I Get a Witness,” and Philip Roth’s 2004 novel, The Plot against America.

19) Pornography is not just confined to sexual exploitation of children. Here in this word coinage, I want to express how grief can be a scandalous form in so many visual and literary representations in the media circus, masquerading exploitative, sometimes enjoyable razzmatazz.

20) Shortly after 9/11, President George W. Bush said, “We will read their names. We will linger over them, and learn their stories, and many Americans will weep.” George W. Bush. We Will Prevail: President George W. Bush on War, Terrorism, and Freedom (New York: The Continuum International Publishing Group, 2003), 5.

21) It is part of the poem by Geoffrey Gatza listed on the listserv of Buffalo

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logic of mourning, the questions of poems remain still as the

possible form of representation. The questions such as ‘how to

represent 9/11’ need to be slightly changed into the questions of

‘how to define 9/11’ and ‘how to live’ and furthermore, ‘how to

make us live’ in the era of post-9/11. If I go back to Adorno’s

remarks on poetry after Auschwitz again, on which almost everyone

depends and cites as the solid proof of ‘the death/marginalization of

contemporary poetry,’ I feel the need to tell its truth here. Before his

death in 1969, Adorno retracted his original remark, conceding that

“Suffering has as much right to be represented as a martyr has to

cry out. So it may have been false to say that writing poetry after

Auschwitz is impossible.”22) Here we find that Adorno made a slight

change in his remarks, the substitution of ‘impossible’ for ‘barbaric.’

As for me, the change seems to suggest that the danger of

representing the disaster lies not in writing about disaster but in the

pretense of understanding it. Moreover, he seems to think that

emphasis on the impossibility of representation poses some danger by

idealizing the unspeakable. So our question needs to begin here in

quite a different mode: how to find the poetic voice of consolation

and mourning without immediately being betrayed by it.

In the post- 9/11 poems of Charles Bernstein, especially those

written as immediate responses to 9/11, we find that his lively poetic

voice, while embracing much wider audiences than the past,23) does

Poetics, Sep. 12 2001, entitled as “9/11 a poem written to deal with terror,” See <http://listserv.buffalo.edu/cgi- bin/wa?A2=ind0109&L=POETICS&T=0&O=D&X=297465612E670B4503&Y=niagaraniagara%40gmail.com&P=123140>.

22) Theodore W. Adorno, Negative Dialectics, trans. E. B. Ashton (New York: Continuum, 1973), 365, italics mine.

82 Eun-Gwi Chung

not reside in the net of endless weeping lines of dejected mourning.

Rather it questions the way political discourses drive the national

mind into the clear-cut binaries of right and wrong. When he reads

the lines in “So be a girly man/ & sing this gurly song/ Sisses &

proud/That we would never lie our way to war,” he attains the

aesthetics of poetry in which a political, witty, playful, accessible,

subversive, and not-so-difficult play of words touches the national

taboo at that time.24) If the task of poetry is to “make audible

(tangible but not necessarily graspable) those dimensions of the real

that cannot be heard as much as to imagine new reals that have

never before existed,” here in these anti-war poems, Bernstein

dauntingly responds to the new political climate that stifled public

dialogue in post-9/11 America.25) Ludicly exploring “a range of

alternate paths to the with-us-or-against-us rhetoric” of the popular

culture and media by manipulating and re-conceptualizing American

political discourse, the poet constructs an alternate site where a new

real is explored.26)

23) All the Whiskey in Heaven; Selected Poems, his recent poetry book exploring “how language both limits and liberates” people’s thinking, supports this assumption.

24) Bernstein, “Ballad of the Girly Man,” 180.25) Charles Bernstein, A Poetics (Cambridge: Harvard University Press, 1992), 184.26) Tim Peterson, “Either You’re with Us and against Us: Charles Bernstein’s Girly

Man, 9-11, and the Brechtian Figure of the Reader,” Electronic Book Review, Mar. 9, 2008, Web. Sep. 7, 2010, http://www.electronicbookreview.com/thread/electropoetics/reflective

From “The Falling Man” to Girly Man 83

Works Cited

Adorno, Theodore W. Can One Live after Auschwitz? A Philosophical Reader. Ed. Rolf Tiedemann. Trans. Rodney Livingstone and others. Stanford: Stanford UP, 2003.

_________________. Negative Dialectics. Trans. E. B. Ashton. New York: Continuum, 1973.

Baudrillard, Jean. The Spirit of Terrorism and Other Essays. Trans, Chris Turner. London: Verso, 2003

Bernstein, Charles. A Poetics. Cambridge: Harvard UP, 1992._______________. All the Whiskey in Heaven: Selected Poems. New York:

Farrar, Straus and Giroux, 2010._______________. Girly Man. Chicago: U of Chicago P, 2006. Bush, George W. We Will Prevail: President George W. Bush on War,

Terrorism, and Freedom. New York: The Continuum International Publishing Group Inc., 2003.

Drew, Richard. “The Falling Man.” New York Times. Sep. 11. 2001. http://upload.wikimedia.org/wikipedia/en/0/05/The_Falling_Man.jpg Web. Sep. 07. 2010.

Gray, Jeffrey. “Precocious Testimony: Poetry and the Uncommemorable.” In Keniston and Quinn. 261-84.

Harjo, Joy. How We Became Human: New and Selected Poems: 1975-2001. New York: W.W. Norton & Company, 2002.

Johnson, Dennis Loy, and Valerie Merians. Poetry After 9/11: an Anthology of New York Poets. Hoboken: Melville House, 2002.

Keniston, Ann, and Jenne Follansbee Quinn, eds. Literature after 9/11. New York: Routledge, 2008.

Peterson, Tim. “Either You’re With Us and Against Us: Charles Bernstein’s Girly Man, 9-11, and the Brechtian Figure of the Reader.” Electronic Book Review. Mar. 09. 2008. Web. Sep. 07. 2010.

Simpson, David. 9/11: The Culture of Commemoration. Chicago: U of Chicago P, 2006.

84 Eun-Gwi Chung

Szymborska, Wislawa. Monologue of a Dog. Trans. Clare Cavanagh and Stanislaw Baranczak. New York: Harcourt, 2005.

■ 논문 투고일자: 2011. 9. 30

■ 심사(수정)일자: 2011. 10. 15

■ 게재 확정일자: 2011. 11. 20

From “The Falling Man” to Girly Man 85

Abstract

From “The Falling Man” to Girly Man:

American Poetry after 9/11 and the Logic of

Mourning

Eun-Gwi Chung

(Inha University)

In what sense did 9/11 become the day when American changed? How does the poetic landscape of 9/11 reflect the political and cultural crisis of America? This paper, beginning with the shocking image of “The Falling Man,” invites readers to rethink of the ‘possible impossibility’ of poetic representation. How did the poets respond to the binary antagonistic discourses around 9/11 that the mass media and the political parties produced? While briefly mapping out the literary scenes in the post-9/11 era, this paper attempts to rescue 9/11 discourse from those illogical cultural and political discourses ornamented such words as sacred ground, our heroes, axis of evil, etc.

Many poems produced shortly after 9/11 reflects the shock, sadness, and anger of the American psyche as a whole. Some joined in the festival of marking the dead in the ‘pornography’ of grief and some fell in clear-cut binaries of traditional politics proposing the war against terror. Trying to answer the questions embedded in the issue of poetic representations and see the prompt responses of poets to the unprecedented trauma of modern America in the post-9/11 era, this paper explores how the contemporary American poets have approached ethics through writing and rethinks poetry’s capacity to bring about social, political, and cultural change.

Especially focusing on Charles Bernstein’s Girly Man, this paper sees how his poems became an exceptional literary achievement of post-9/11 America. Vividly portraying the disoriented people and landscape of New York on

86 Eun-Gwi Chung

that day and inviting readers to rethink ways of interpreting 9/11, Bernstein constructs his poetic language as a public forum seeking to jostle readers out of their personal grief and private emotional sphere. Bernstein’s prompt responses to what happened to America are meaningful not as therapy or commemoration, but as the song of an ethical, political troubadour questioning the logic of mourning. As a form of manipulating and re-conceptualizing American political discourse, his poetry constructs an alternate path where a new real is explored.

Key Words

9/11, “The Falling Man,” impossibility of representation, Charles Bernstein, Girly Man, grief, mourning, ethics